This is beautiful! You're pulling a level of quality out of the FX6 that I've never seen until now. Just confirms how much a good eye and quality glass matters.
It was a dark and rainy night. I had just finished a gig at the coffee shop and did some killer shred runs on the uke. The crowd loved it, but I couldn't help but feel empty inside. I couldn't stop thinking about the greenhouse and how much work was left to do. I returned home to find that once again the lightbulb bandits raided my apartment and I had to make tea in the dark. I stubbed my toe the last time this happened, and it still hurts thinking about it. That was the same night of the power glitch in the greenhouse. The lights flickered like crazy and poor Jessy had an epileptic fit and fell and hit her head. The nurses said after she woke up she ran out of the hospital in a mad rage, stealing a typewriter from the front desk. Nobody knows where she went, but days later I found a note from her on my lamp, but I've been unable to read it with this old prescription. Anyway, that's not important right now, I've got lens tests to run. God willing I will see it done, I'll save my money from the shop and get that greenhouse fully operational.
WOW. This footage blew me away, so many emotions captured and well put together by properly using the light and colors. Did you use any type of lighting equipment other than the practicals you had in hand? Amazing mate, really beautiful piece.
I'm buying an FX6 soon and was considering Zeiss cine but didn't like the broadcast look of Zeiss. Thank you for showing these tokina results. Exactly the cine look I want, a little closer to Cooke.
Another stunning video man! Ive been drooling over the vista primes for a long time myself. Maybe one day I will own a set... one day very far in the future from now 🤣
Thanks Mac! Dude same here. I keep telling myself the same thing lol They’re competitively priced but it’s right in the middle of affordable and out of reach for me. Just gonna rent them until the day comes!
@@Bendoescamera I feel that. I’ve been keen to get my hands on the SLR Magic micro primes! I really want to try those out. I also end up back shooting on my trusty Canon FD set though haha.
@@MacOlink I've had those microprimes in a cart on adorama numerous times and just haven't pulled the trigger lol. They're such a great price. Think I might go with some more Sigmas next instead tho. Just makes more sense for paid projects to have a set of those. Love the autofocus. I have the APO hyperprimes and they're amazing. SLR magic makes such good lenses that are also soooo underrated. You cant go wrong with FD glass though - some of the best lenses ever made. Great lenses to fall back on
@@Bendoescamera I see the microprimes pop up used all the time on BH for dumb cheap! Maybe I’ll grab one the next time I see one and let ya know how they are haha. And man, can go wrong with sigmas. I’m about to grab the 35 1.2 but I just can’t stand the focus by wire system. First world problems.
@@MacOlink Yeah dude definitely let me know. The 24mm microprime looks amazing. So true were spoiled now days. I think its good for certain projects, but I hear ya. Nothing beats the unpredictable human touch.
if only there was a way to use the Zoom rockers on top and side handles to control a Tilta Nucleus to pull focus that could be a cool thing... IDK 🤷♂️ just a thought.... Nice video.
This made me feel things that I can't even put into words. It's as if I'm suspended in time & i'm just watching this ethereal being going about her life. Terrence Malik wants to know your location.
Im looking at getting this setup one day but contemplating between getting the new Sigma 35 dg dn 1.4 that came out or this lens Which would you choose for corporate type of work? Sigma or tokina? Great job man!
Would you say the image quality is worth it enough to upgrade to these lenses? the image and color on this is amazing...or would you saying your color grading does most of the work?
I didn’t do too much color grading to be honest. Just slight tweaks here and there. I always think glass makes the biggest difference now days between looks and quality. If you’ve got the money and are looking to upgrade the Tokinas are the best deal you can get!
Thanks Kong! Only tough part was how long the focus throw was. Having to turn the lens all the way around isnt easy by hand. Weight wasn’t too much of an issue but the camera was completely stripped down besides the monitor and a BPU30. The first couple years I DP’ed I had to pull my own focus so it’s natural to me.
Thank you! Whole video is 60fps except for the comparison at the end. We don't really do much preparation actually. Kind of just pick up the camera and go shoot! Some places we've been before though so we knew they'd look great. I own some lights so it's easy for me to just throw one up here or there when needed.
@@Bendoescamera I signed up! I’m upgrading to the FX6 and I want to learn how to maximize the quality of that camera. I also want to improve my lighting and grading to get the same great look out of any camera.
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I haven’t yet! But so far it’s been a workhorse from a mechanical stand point. No random turn offs, overheating, weird errors, card issues or anything else. I get the tilta cage this week so I’ll rig it up as a full production camera with a follow focus and wireless video and let you know how it goes!
Really lovely footage! I've spent a bit of time with the FX6, but mainly use the A7Siii. How do you deal with noise in the nighttime footage? I've really been struggling with this when shooting in Prores Raw. I've only worked with some noise reduction software like Red Giant Denoiser but overall I'm not impressed with the results and it takes FOREVER to render. Do you do noise reduction in post or set it up within the FX6 internally? The A7S3 applies noise reduction automatically to internal footage, though you don't have control over the strength like with the FX6. Prores Raw footage shot in low light is super noisy as it doesn't apply any noise reduction in camera.
Thanks Phil! I apply it in camera when I can. I had it set to mid for this one (which I didn't even realize until your comment and I checked to see if I had had it on). When I do apply noise reduction in post I use resolve because its crazy fast and easily adjustable within my color workflow. I would recommend doing that if you're shooting Prores Raw. Although you'll need to transcode it to something else because I don't believe resolve supports prores raw yet.
@@Bendoescamera Ah yes, should have figured that you were using Resolve ;) I work so heavily with the Adobe suite so I've stuck with Premiere for years, even though it's very much a love/hate relationship. The main benefit is the ease of integration with After Effects as I do heavy motion design work. Resolve really fails in this area. But I have used it in the past for grading and it is second to none in that regard. Maybe I will reconsider it now for the noise reduction benefits as I have been shooting more at night these days.
Hey Gino! Thank you. Honestly a lot of it comes from years of shooting and messing up lol but in general when I'm shooting I'm trying to keep contrast and composition in mind and exposure last. So basically, I'll make sure to place my subject in between camera and my key light and then ensure that there's enough contrast between them in the background. Then, my exposure kind of just comes naturally after that. And you can't go wrong because even if you're underexposed you still have that separation and depth in your image. I generally underexpose by a half a stop to a stop when I'm shooting these kinds of videos because I'm going for a moodier more dramatic look. Now, I'm dialing that in with ND so as to not sacrifice any depth by stopping down on the lens. I also always shoot at the native ISO for any camera to ensure maximum dynamic range. This allows me to underexpose and still get information in the shadows without it going to pure black. But, really nailing the contrast ratios between your subject and background gives you the freedom to and expose however you'd like. I don't use any sort of waveforms or false color. However, I have used false color when I was first starting out to help me understand ratios better. I'm constantly watching videos and looking at photography and creating a database in my head of imagery I like. On set, I'm either subconsciously or intentionally referencing those. Hopefully this helps! Let me know if you want me to get more specific on something or if you have any other questions. And thanks for joining the patreon!
you notice a big difference from it only being 10bit? vs ur 12bit alexa? how do the colors grade in post vs ur alexa as well? I know Arri color science acts more like film when you push and pull the grade with its luminance and saturation values- so just curious to how this compares
Honestly I haven’t had the chance to push the grade a lot. I generally try to do everything I can in camera and then just apply a basic LUT in post. But I will say yes there is a difference when grading between the two. Nothing can really compete with grading the Alexa in my experience. Especially when dealing with underexposed scenes or moody scenes. The way it renders cold shadows is so cinematic. Not sure if that answers your question lol but you can do quite a bit with the FX6 - I just wouldn’t expect it to compete if you’re going for a heavy look that you didn’t already plan for in camera.
@@Bendoescamera Thanks for your reply! Def. helps. I own a c500 mk ii and even with that 12 bit raw it's just not the same as my amira- I couldn't tell if i'm just going crazy, but knowing you have a similar experience helps haha.
